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Building a new New World. Installation view, 2019.
Building a new New World. Installation view, 2019
Building a new New World. Installation view, 2019.
Building a new New World. Installation view, 2019.
Building a new New World. Installation view, 2019.
Building a new New World. Installation view, 2019.
Building a new New World. Installation view, 2019.
Building a new New World. Installation view, 2019.
Building a new New World. Installation view, 2019.
Within the broad phenomenon of cultural transfer that characterizes modernity and modernization worldwide, the most paradoxical bilateral relationship is the one established between Russia and the United States during the long twentieth century.
Beginning with the first World’s Fair, held in Philadelphia in 1876, until the fall of the Soviet Union in 1991, every defining moment in Soviet history has been shaped by a set of idealized representations of the politics, technology, territorial developments, architecture, and visual culture of America. In 1924, Leon Trotsky went as far as to affirm that “Americanized Bolshevism will triumph and smash imperialist Americanism,” echoing the prophetic vision, formulated by Alexander Blok, of a “New America” forged in the coal-mining regions of Russia.
“Amerikanizm” in Russia can be construed as a multifaceted phantasmagoria—a term used by Walter Benjamin to interpret the spectacle of the commodity. Russian political thinkers, writers, architects, and designers experienced ideal images of the New World as a sequence of fantasies. Visual and textual representations, unfolding on a continuum, generated a collective illusion that shaped modern Russia.
The exhibition and accompanying publication rewrite the history of Russian architecture and urban design in light of this enduring amerikanizm by analyzing, among others, high-rise buildings, including of the late Stalinist era, factories and industrial infrastructure, and Cold War product design. The narrative is underlined by an expanded definition of architecture and of culture that encompasses industrial and graphic design, music, photography, film, and literature.
Curator: Jean-Louis Cohen
Research and Curatorial Coordination: Aude Renaud-Lorrain, Helina Gebremedhen, Émilie Retailleau
Exhibition and graphic design: MG&Co. (Noëmi Mollet, Reto Geiser), Houston
Map design: Studio Folder (Marco Ferrari, Elisa Pasqual), Milan
Design development: Sébastien Larivière, Anh Truong
Research assistants : Sam Omans (New York), Veronika Ushakova (Moscou/Moscow)
The CCA gratefully acknowledges the support of the ministère de la Culture et des Communications du Québec, the Canada Council for the Arts, and the Conseil des arts de Montréal.
Charles Dédoyard. Dnieper Hydroelectric Power Station under construction, Zaporozhe, Soviet Union (now in Ukraine), 1932. PH1987:0799, CCA.
Boris Mikhailovitch Iofan, Perspective for the People’s Commissariat for Heavy Industry, Moscow, 1938, graphite and watercolour on paper, 43 x 37,6 cm, DR1995:0003, CCA.
Daniil Fridman and Gleb Glushchenko. Views of the Building of Industry construction site, Sverdlovsk, Soviet Union (now Ekaterinburg, Russia), 1931-31. Gelatin silver print, 15.0 x 23.8 cm. PH1993 :0240, CCA
Albert Kahn, Inc. Soviet Diesel Tractor Assembly Plant, Cheliabinsk, Soviet Union (now Russia), 1932. Gelatin silver print, 15.0 x 23.8 cm. PH2000:0207, CCA. Gift of Federico Bucci
Aleksandr A. Vesnin and Liubov S. Popova. Photograph of a Model for the set of G. K. Chesterton’s play The Man Who Was Thursday, Kamernyi Theatre, Moscow, ca. 1923. General view. Gelatin silver print on paper, 16.1 x 21.4cm. CCA, PH1984:0971. Gift of Howard Schickler and David Lafaille
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